This translation uses more emotional language than the Helen Zimmern translation. This simultaneously lessens and widens the gap between the depiction of Iranians and Turanians, depending on the context. Ferangís, for instance, is a more sympathetic character, whereas Afrásiyáb is condemned more harshly. CC BY-NC-SA

This version of the epic leans into the celebration that Saiáwush received when arriving in Túrán. It generally seems to emphasize how beloved he was. Through this, differences between the Iranians and the Turanians are marked. As soon as Saiáwush arrives, the people essentially beg him to rule over them. This suggests that he is equipped to do what the locals cannot, therefore he should have power, putting Iranians in a favorable position and building a sense of national pride. At the same time, a distinction between them and the foreign group is established. CC BY-NC-SA

Ultimately, these characters from Turan turn on Siawosh. This could be a way of othering them, and differentiating them from the Iranians. The epic may have been set up so that the friendship between Siawosh and the Turanians was always fated to fall apart, because they were from different groups, and could not reconcile that fact. Thus, the notion of the “Other” is cemented. CC BY-NC-SA

Siawosh marrying Afrasiyab’s daughter further demonstrates the blurring of lines separating the “Us” of the story from the “Them”. It’s a union in all senses. With Siawosh residing in Turan for much of his story, he makes connections with people from Turan. These connections are key to humanizing the characters. CC BY-NC-SA

The foreign group is relatively humanized and developed, to a greater extent than in stories such as the Ramayana or Josephs. While divisions are still drawn, the people of Turan are written as near equals, capable of the same complexity as the Iranians. CC BY-NC-SA

There is generally a lot of sympathy shown to the people of Turan, as shown in this line. The foreigners are not too othered, which is reminiscent of The Persians by Aeschylus. CC BY-NC-SA

By having the hero of the story be destined to destroy Turan, Iran is clearly shown as the "Us" and Turan as the "Them". If it's what Siawosh must do, then it must be correct, and Turan must deserve that fate. Unlike Iran, which may also have a corrupt king, but doesn’t deserve the same as Turan, by virtue of not being the “Other”. CC BY-NC-SA

Joseph, being monotheistic, is uniquely special. His abilities are something that the Egyptians cannot emulate, which implies that the Egyptians are generally less capable. The narrative shows how the Canaanites are distinct from the Egyptians through their skills, allowing monotheists to form a separate identity. CC BY-NC-SA

Similarly to the Quranic version, Joseph also emphasizes his religion in the Biblical interpretation. This makes sense, since both are religious texts used to spread their respective faiths. It shows that the differing beliefs of the Egyptians and Canaanites are at the heart of their division. They can never be the same as long as that core difference remains. CC BY-NC-SA

The contrast of beliefs is an important way of emphasizing the otherness of the Egyptians, who may be a stand-in for polytheists in general. The condemnation of other religions successfully creates a divide between groups. Religion is one of the greatest tools to forge a sense of identity with, seeing as how it builds community. It follows, then, that it would also be one of the greatest tools to other a foreign nation. CC BY-NC-SA

While not directly stated, his beauty may be mentioned in order to contrast him with the Egyptians. This could be a way of portraying the Canaanites as more desirable than other groups, which would contribute towards building a sense of national identity. In the context of the Quran, it could also be something more similar to a religious identity. Either way, having more attractive physical traits places the Canaanites above foreign groups. CC BY-NC-SA

When compared to E. D. A. Morshead’s translation, Robert Potter’s translation clearly identifies the context of this statement. The Athenians are not slaves to any monarch, specifically. Aeschylus’s belief that monarchies were comparable to slavery is still present, this time more accurately, drawing a clean division between the Persians and Athenians. Both translators named were English, albeit from different centuries, so the change in phrasing may reflect their political beliefs. Therefore, praise for the Athenian form of government would have been framed according to each man’s support for the monarchy. At the time of Potter’s 1777 translation, Enlightenment ideals were popular; a blatant anti-monarchy stance may have reflected that. CC BY-NC-SA

Xerxes praising the Athenians for standing against him could be a subtle way of showing the Persians as the "Other". This is because he's depicted as praising the enemy, in a somewhat unrealistic way. It reads as an attempt of portraying the Athenians as righteous and just, whereas the Persians are left no choice but to accept that as fact. They're not "Us", so their suffering cannot be unfair; they're "Them", so the suffering is deserved. CC BY-NC-SA

The Greeks are being painted as inherently more deserving of respect and reverence. The narrative feeds into the Athenian nations' superiority by claiming the Persians can only prosper by leaving them alone, because Greece is simply more successful. Thus, the Persians and the Athenians are not equal parties in the story. Still, they are much more equal than, for instance, the opposing parties of the Ramayana. The Persians stands out for the general sympathetic portrayal of the people from the Achaemenid Empire. CC BY-NC-SA

Aeschylus is emphasizing Athenian democracy, as their unique form of government was a point of pride. It would be very easy to foster a national identity around this concept, which is what he was leaning into. However, his bias in the writing is evident, seeing as how the Persians very famously freed slaves. The use of the word "slave" here, then, is interesting. Athens did actually have slaves, but the point here is to compare other forms of government to slavery, not to talk about real slavery in society. Aeschylus took the opportunity to highlight the democratic values of Athens, in contrast to the values of the Achaemenid Empire, regardless of how accurate the assessment may or may not have been. CC BY-NC-SA

Here, the differences in weaponry highlight the overall differences between the groups. It's not just about using particular tools, it's about what those tools say about a culture. From an Athenian perspective, a bow may seem like a more cowardly weapon. Calling attention to this perception could be a way of disparaging the foreign Persians while also building a sense of national pride around the Athenians’ own choice of weapon. CC BY-NC-SA

Be it through caricatures or descriptions, differences in physical features have always been an incredibly common way of othering groups. Surphanaka, Ravana's sister, having a so-called “ugly nose” exemplifies this phenomenon. A similar sentiment about Ravana is also expressed: “Your ugly yellow eyes should fall out of your head as you stare at me so lustfully, Ravana.” (Paley, 00:27:16 - 00:27:21). In his case, Ravana’s yellow eyes serve to dehumanize him. Where distinct features emphasize a difference, inhuman features—like yellow eyes—only widen that gap. CC BY-NC-SA

As a modern retelling of the Ramayana, Sita Sings the Blues is not afraid to critique the original story, often using a lighthearted tone to do so. In this part, the narrative acknowledges how Ravana is portrayed as evil, despite his accomplishments. If it weren’t for his foreignness, he may have been a more nuanced character. Since that wasn’t the case, he was unambiguously villainous. One step out of line proved him to be in the wrong. The group that controls the narrative is waiting for the outsider to fail, in order to justify their preconceived ideas about their nature. Sita Sings the Blues uses humor to comment on this narrative of nation, because it was intentionally made as commentary on the Ramayana. CC BY-NC-SA

Sita cries due to being captured by the evil "Other". It's made clear that it’s not just the king that's evil, but also the subjects that are called "wild she-demons". This is a very direct example of othering a foreign people by perceiving them as uncivilized. This lays the groundwork for the judgment of others’ unique customs, which in turn, builds an identity around one’s own customs. CC BY-NC-SA

The king—and by extension his people—eat food that regular people wouldn't, which is another way of othering them. This portrayal likely stems from them not being written as human in the first place. Rather, they're giants. Thus, their race feeds into the narrative of foreigners being a distinct type of person. The idea is taken to the extreme, as they’re not even human. CC BY-NC-SA

By having goblin-headed creatures pull Rávan's chariot, the people of Lanká are painted as strange and abnormal. Rather than use regular donkeys, Rávan uses monstrous donkeys, a reflection of the perceived culture in Sri Lanka. Modifications such as these exotify and mystify the foreign group. CC BY-NC-SA

This line suggests that there is an inherent difference between Ráma and Rávan. Rávan’s character is shown to be naturally inferior and sinful when compared to Ráma, which is part of a broader narrative about the Sri Lankans. This inequality is acknowledged directly by Akampan, one of the giants himself. So, regardless of which group one belongs to, the imbalance between the sides is made apparent. In a sense, the giants seemingly accept and give in to Ráma’s superiority. CC BY-NC-SA

Here, the Sri Lankans are described both as giants and demons. Overall, there is a preference for the term "giant" over "demon" in this translation. The decision suggests that this version of the Ramayana was trying to portray the giants more neutrally. The translator, an Englishman from the 19th century, would have less of a need to highlight distinctions between Indians (particularly from Ayodhya) and Sri Lankans. For one, both territories were British colonial possessions at the time of translation (1870-1874). Furthermore, the translator and his anglophone audience would not feel a strong connection to either group. Thus, one of the original goals—nation-building—would be diminished. CC BY-NC-SA

This disparaging description paints Rávan as unreasonable and deeply evil. The lack of consideration for his perspective fuels the reading of him and his people as inferior beings. Vocabulary choices such as “savage fury uncontrolled” don’t describe just any angry man. They describe a ruthless, dangerous person that cannot be trusted. He is a villain by all means, and his belonging to a separate people furthers that narrative. CC BY-NC-SA

Rávan, the king of Ceylon (present-day Sri Lanka) would be an example of the "Other" in the Ramayana. Describing him as "senseless" is one way of othering him and his people, making them seem incomprehensible and fundamentally different. This feeds into the narrative of nation, wherein the Indian people are rational and sympathetic, and the Sri Lankans are not. Instead, they are their own separate, lesser people. CC BY-NC-SA

Within the following pieces of this story, Bheeshma values women, and their right to make their own choices. It is fascinating that Amba does what she wants, then turns around and tries to marry Bheeshma after she went her own way. Bheeshma declining her is his own inalienable right and she decides it is not fair. This flip in gender roles of the woman trying to take away a man's power is quite the spectacle.

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Shantanu is not honest with Gangeya his son. He thought he wasn't aware enough to know that he was enthralled with another woman. Gangeya, showing in this story that he is selfless and wants only to make his father's wishes to come true, does so in striking a deal with Satyavati's father.

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Shantanu is quite bold in his wants. The women portrayed in this tale are immediately depicted as physically appealing, beautiful, and smelling divine. They are not described to have any other values which is another piece that perpetuates toxic masculinity and the writer's who have these biases built into their minds.

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Shantanu once again doesn't know what he truly wants. He has mixed desires in wanting women while also not wanting to give away the lineage and royalty of his own son. The interaction between Shantanu and Satyavati's father is another example of the gender role that the women are not in the discussion, only the men and stating what they desire. Satyavati's father wants an in to royalty and he is pushing hard to make that deal with the King.

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It's almost as if he knew he would find a woman or someone who could fill the gaping hole he felt in his life. Like he was searching along the banks hoping to stumble upon another woman, which points back to his desire which comes across as only wanting women to physically satisfy him. This feeds into the gender roles of men seeming like they only want women for sex and is prevelant in Shantanu's life.

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"Gangeya knew who Shantanu was", this shows that his mother told him of his father Shantanu and must have shown him who he was so that he could recognize him in person. The title "Devavrata" is signifying of the future when he will take a terrible oath of celibacy.

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This piece is interesting because it ties back to the first time Shantanu and his wife met when he was out hunting by the river. What significance do these corellations have? Is Shantanu somehow drawn by a higher diety to keep making life choices when out hunting?

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The fact that he, "Fell in love with the maiden, at first sight" is signatory and should be noted because throughout the rest of the story King Shantanu continually falls in love with women barely knowing anything about them and doing so naively and almost in a blind like blundering manner.

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If he had endured the killings of his children up to this point, why stop her now? His morals are verry off putting and disturbing due to his already lack of respect for women. And in turn it ruined the agreement of his whole marriage. When later he chases another woman in the same manner. King Shantanu cannot make up what he truly wants.

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From a gender role view and assumptions from me being made about this king, he seems to only be following what his body wants from women and not caring what they inherently can have value in besides giving bodily pleasures. I feel sorry for the women in this storyline that he "falls in love" with, if one would even say this childlike king is actually being in love with them.

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Underscored here is the dynamics of male camaraderie and conflict in the Ramayana. It references the story of Báli and Sugríva, two monkey brothers who initially fought against each other but later reconciled and formed a strong alliance. The portrayal of their friendship highlights the idea of brotherhood and loyalty among male characters, adding another layer to the construction of the hero within the cultural context of the epic.

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This leads to significant event in the narrative, namely the abduction of Sitá by the demon king Rávan. The mention of her rape emphasizes the vulnerability and victimization of women within the epic. It reflects the power dynamics between genders and underscores the importance of rescuing Sitá, which becomes a central motivation for Ráma's heroic journey.

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This quote signifies the significance of gender roles and the portrayal of the hero in the context of marriage and masculinity. Ráma's ability to successfully complete the challenge of breaking a bow that no one else could illustrates his exceptional strength and heroism. It reinforces the traditional notion of masculinity associated with physical prowess and serves as a validation of Ráma's worthiness as a suitor for Janak's daughter, Sitá.

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Deeply reflected is the sense of reverence and piety exhibited by the hermit during his meditation. The mention of the hermit sitting on holy grass and facing the east highlights the sacredness associated with the act of storytelling. It symbolizes the spiritual connection between the storyteller and the divine, suggesting that the narrative being conveyed holds great significance within the cultural context.

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Brahmá recognizes Válmíki's poetic talent and urges him to narrate the life story of Rama, emphasizing his virtuous and heroic qualities. The quote illustrates Brahmá's belief in Válmíki's ability to eloquently capture Rama's deeds in his epic.

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Signified here is the approval and encouragement Válmíki receives from Brahmá for the verse he spontaneously composed. It indicates that his heartfelt lamentation over the curlew's fate holds poetic value and inspires him to proceed with his epic composition.

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This quote reflects Válmíki's condemnation of the fowler's act of killing the male curlew. It expresses his disapproval and sorrow for the unnecessary loss of life and highlights his empathetic perspective, almost fatherly.

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Here is portrayed Válmíki's compassionate and empathetic nature, which is not specific to gender roles but showcases a universal human quality. It emphasizes his sensitivity towards the suffering of creatures and sets the stage for the subsequent events.

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This highlights the traditional gender roles prevalent in ancient Indian society, where Válmíki, as a sage, is portrayed as the authoritative figure instructing his disciple, Bharadvája, to assist him in his daily activities.

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Valmiki starts by asking Narada about the identity of a virtuous and heroic individual, someone who embodies qualities such as gratitude, righteousness, and protection of the people. Narada responds by describing the characteristics of Rama, the hero of the Ramayana. He praises Rama's physical appearance, his virtues, skills, and his commitment to justice and righteousness. Rama is depicted as the epitome of a hero, with divine-like qualities that make him comparable to gods such as Indra and Vishnu.

In analyzing the gender aspect of the text, we can observe the traditional gender roles and definitions prevalent in the culture from which the text originates. The passage portrays Rama as the ideal hero, upholding the patriarchal norms of the society. He is described as a strong and powerful warrior, with physical attributes that emphasize his masculinity. Rama's qualities are praised, and he is depicted as the protector and savior of mankind.

The text also portrays Sita, Rama's wife, as a devoted and obedient wife. She is described as Rama's "darling wife" who clings to him and follows him even in exile. Sita's role is primarily that of a supportive and loyal wife, whose virtue and purity are highlighted. However, it is important to note that in later parts of the Ramayana, Sita's agency and strength are further explored, challenging traditional gender roles.

In terms of linguistic value, the text is composed in a poetic and descriptive manner, employing vivid imagery and metaphors to depict the qualities of the hero and his spouse. The language used is rich and evocative, contributing to the aesthetic appeal of the work.

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The text highlights the traditional gender expectations placed on Bhishma, depicting him as a paragon of masculinity. He is described as "an exceptionally skilled administrator" and "an undefeatable warrior". These exemplify the societal expectations of men as strong, knowledgeable, and powerful figures.

The story introduces the concept of Bhishma's vow of celibacy, known as the "bhishan pratigya," which becomes a defining characteristic of his identity. This vow, driven by devotion and duty towards his father and the throne, showcases the sacrifice of personal desires for the sake of societal and familial obligations. The text states, "Devavrata promised that he would never stake a claim to the throne," implying the relinquishment of personal aspirations. This vow embodies the traditional gender roles that expect men to prioritize duty and suppress personal desires.

Furthermore, the narrative walks into the challenges faced by women, exemplified through the character of Amba. Amba's desires and choices are undermined by male figures such as Bhishma and Parasurama. Her pursuit of love and autonomy is hindered by societal norms and the interference of powerful male figures. The text states, "Upon being turned down by Vichitravirya too, as a maiden who had loved another man, Amba was incensed at Bhishma". This quote highlights the limited action and struggles faced by women within the patriarchal framework.

There is an emphasis on the importance of considering the linguistic value of the text. The interpretation, translation, and editing of the Mahabharata can be influenced by the biases and patriarchal mindset of the translators, editors, or scribes involved. It is crucial to critically analyze the text, recognizing the potential manipulations and biases that might have shaped its content.

In conclusion, Bhishma from the Mahabharta underlines the patriarchal nature of the narrative, the suppression of women's effect, and the construction of the hero figure within the cultural and social context.

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Title: Gender Roles and Tragic Consequences in Hippolytus

The play "Hippolytus" by Euripides explores the complex dynamics of gender roles and the tragic consequences that arise from societal expectations and the manipulation of divine powers. The story revolves around the conflict between Aphrodite, the goddess of love, and Hippolytus, a devoted follower of Artemis, the goddess of the hunt. By examining key quotes and significant events, we can delve into the portrayal of gender roles and the repercussions they have on the characters within the play.

At the beginning of the play, Aphrodite expresses her frustration with Hippolytus's refusal to revere her and his unwavering devotion to Artemis (2, 1-3). This sets the stage for Aphrodite's plan of vengeance, highlighting the power dynamics between male and female deities and the consequences of defying traditional gender expectations. The conflict between the two goddesses serves as a backdrop for the subsequent events that unfold.

When Phaedra, Hippolytus's stepmother, falls in love with him due to Aphrodite's influence, it highlights the vulnerability of women in a patriarchal society and their susceptibility to the manipulation of divine powers (2, 6-7). Phaedra's unrequited love for Hippolytus becomes a catalyst for the tragic events that follow, illustrating the destructive consequences of crossing societal boundaries and challenging established gender roles.

Throughout the play, Phaedra grapples with her forbidden desires and the notion of preserving her honor (5, 19-22). Her internal struggle reflects the societal pressures placed on women to adhere to strict moral codes and maintain their virtuous reputation. Phaedra's ultimate decision to starve herself and die to protect Theseus from shame illustrates the extreme lengths she is willing to go to uphold the expectations of female purity and chastity.

The nurse, a secondary character, plays a significant role in circulating gender norms and contributing to the tragic outcome. Initially, she appears to be supportive of Phaedra's plight and offers a magical charm to cure her (4, 15-17). However, in an aside, the nurse reveals her ulterior motive, suggesting that Phaedra should yield to her desires (4, 16-18). This manipulation demonstrates the complexities of gender dynamics and the potential for women to contribute to the perpetuation of the patriarchal norms.

Hippolytus, on the other hand, vehemently rejects Phaedra's advances and fiercely defends his chastity and loyalty to Artemis (5, 17-19). His refusal to yield to Aphrodite's power highlights his unwavering commitment to his chosen deity and his defiance of traditional gender expectations. Hippolytus's unwavering adherence to his principles ultimately leads to his tragic downfall.

The false accusation of rape leveled against Hippolytus exposes the destructive potential of gender-based assumptions and societal biases. Theseus, Phaedra's husband and Hippolytus's father, believes the fabricated story and condemns his son to exile or death (6, 21-26). Theseus's inability to question the validity of the accusation reflects the deeply ingrained prejudices and expectations placed on women and men within the society.

The tragic climax of the play occurs when Artemis reveals the truth to Theseus, exposing Aphrodite's manipulations and Phaedra's deception (9, 31-33). This revelation highlights the devastating consequences that arise from the manipulation of gender roles and the abuse of power by divine entities. The final reconciliation between Hippolytus and Theseus serves as a poignant moment, emphasizing the tragedy of a father's realization that he has killed his own son due to his blind adherence to societal expectations.

In conclusion, "Hippolytus" delves into the complexities of gender roles and the tragic outcomes that arise from the manipulation of societal expectations and divine powers. The play highlights the vulnerability of women, the defiance of male protagonists, and the destructive consequences of rigid gender norms. By examining key quotes and pivotal events, we gain a deeper understanding of the portrayal of gender roles in the play and the profound impact they have on the characters' lives.

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Title: Gender Roles and Heroic Constructs in Beowulf: Chapter IV

Chapter IV of Beowulf continues to explore gender roles and the construction of heroism within the narrative. In this section, Beowulf and his companions arrive at Heorot, Hrothgar's hall, and engage in a conversation with the watchman stationed there. Examining this interaction sheds light on societal expectations, cultural norms, and the role of heroes within the Beowulf tale.

Beowulf's introduction to the watchman emphasizes his noble lineage and his kinship with the Geats. By highlighting his father, Ecgtheow, as a renowned noble atheling, the text establishes Beowulf's credentials and strengthens his heroic image (lV. 260-265). This portrayal reflects the importance of ancestry and heritage in defining one's heroic stature. In Beowulf's case, his noble lineage contributes to his status as a worthy protector and champion.

The watchman's response to Beowulf's arrival further reveals the hierarchical nature of heroism and societal expectations. The watchman acknowledges the need for a skilled warrior to demonstrate prowess in both words and deeds, underscoring the importance of verbal and physical prowess in establishing one's heroism (ll. 287-291). The ability to eloquently articulate one's intentions and demonstrate martial skill are essential attributes for a hero in this epic.

The symbolic value of the ship and the imagery associated with it contribute to the overall heroic narrative. The ship, described as "new-tarred" and faithfully guarded by Beowulf's men, represents their connection to their homeland and their role as protectors of their people (ll. 295-296). The gleaming boars on the cheek-guards of the warriors' helmets further reinforce the heroic imagery, representing their strength, courage, and ferocity in battle (ll. 304-305).

The cultural significance of Heorot, Hrothgar's hall, is emphasized through vivid descriptions. The hall is described as the "fairest 'mid folk of earth" and its gleam reaches lands afar (ll. 309-311). This portrayal highlights Heorot's central role as a gathering place, a symbol of power and civilization, and a testament to Hrothgar's kingship. The magnificence of Heorot contributes to the grandeur of the narrative and enhances the heroic setting in which the characters operate.

To conclude, Chapter IV of Beowulf highlights Beowulf's noble lineage and his embodiment of heroic attributes. The interaction with the watchman reinforces the societal expectations placed on heroes, both in their words and actions. The symbolism associated with the ship and Heorot contributes to the heroic narrative and emphasizes the grandeur of the setting.

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Voyant was able to identify and distinguish 5,724 total words and 1,626 unique word forms throughout the entire story.